Originally a cellist singer/songwriter Lindsey Webster found her musical way to the vocal interpretation in the Soul, Pop and R&B genre. With her self titled debut album (2013) she won “Best Acoustic Song” in the Independent Music Awards. Her second album You Change (2015) aroused the attention of the listeners and increased the degree of awareness. With the third album Back To Your Heart (2016) she is designated to achieve her international breakthrough as an artist of the contemporary jazz genre.

Now Katia Labèque has released an album of solo performances and duets – the latter with three jazz piano giants in Herbie Hancock, Chick Corea and Gonzalo Rubalcaba, as well as two tracks for Sting on vocals, plus Dimension X producer/guitarist David Chalmin. The conversations with the three pianists all represent eloquent balances of Labeque's fragile precision against freewheeling improvisational energy. My Funny Valentine (with Hancock) shifts from wistful beginnings to a driving boogie; We Will Meet Again (with Corea) is a fitting tribute to composer Bill Evans's delicate clarity; and Besame Mucho (with Rubalcaba) grows turbulent in its middle section. Sting is a little theatrical, and Chalmin's Purple Diamond has a faintly David Brent-like fervency, but Erik Satie's Gnossienne No 3 is as exquisite as always. –John Fordham

Quality teaching is the single most important factor in student learning. But what counts as quality teaching? This book explores one of the most fundamental characteristics of accomplished practice: teachers' reflection. By examining the role of reflection, we see how this vital aspect of teaching can be supported in teachers' professional lives―with significant results for student learning. Author Joelle Jay offers teacher leaders and school administrators concrete cases and recommendations for incorporating reflection into their schools.

Nestor Torres' liner notes describe the opening track, "Musing," as "the best of both worlds" (combining his Latin jazz roots with smooth jazz sensibilities), but that tag could apply almost universally. On that song, Torres' flute dances and skips over an easy hip-hop vibe before Latin-flavored synth horns begin rising.